OCTOBER 2017

CONCERT

Welcome to tonight's concert of Mendelssohn, Brahms and Schubert..

Kensington Chamber Orchestra (KCO) started life as the Informal Chamber Orchestra
in 1936. Informal referred to concert dress – normal suits and dresses were worn for
performances. In the late 1980s, the orchestra changed its name to the Kensington
Chamber Orchestra, refecting a move to rehearsal premises in Ladbroke Grove and
the support provided by the Kensington & Chelsea Arts Council. KCO was fortunate to
have a long and productive relationship with the Arts Council Administrator Terry
Slasberg until her death in 2001.

KCO now performs four or fve concerts in London each year, bringing together
London-based musicians to perform a wide range of established and contemporary
classical music to a high standard. It is an orchestra that seeks to introduce people of
all ages to the joy and beauty of classical music and music-making, and over the last
couple of years has introduced the extremely successful ‘family concert’ into its
annual concert programme for the younger members of the orchestra’s following.
KCO is equally keen to encourage and support exciting young soloists and composers
at the outset of their careers. KCO has taken part in the Adopt-a-Composer scheme,
including a collaboration with Elizabeth Winters in a performance of “A Serious Side of
Madness” which has recently won a British Composer Award. KCO has also been
fortunate to play with some extremely talented young soloists, including Yasmin
Rowe, Mathieu van Bellen, Magnus Johnston, Lukas Medlam and Michael Foyle.

KCO would like to thank St. Clement and St. James CE Primary School and St. James
Norlands in Holland Park for rehearsal and storage space and Francesca Blum, Sarah
Rogers, Jonny Davies and Matt Turner for their assistance with front-of-house activity
at this evening’s concert.

We would also like to thank Leonora Lang and John Waller for their generous fnancial
support. You too can become a supporter or a non-playing member of KCO. If you
would like to fnd out more, please email kensingtonchamber@gmail.com.

You can also help to generate valuable extra income for KCO by using the Amazon link
on our website (kco.org.uk) which enables the orchestra to receive a commission on
every purchase.

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Tickets for all our concerts can now be purchased online in advance of the concert and
at a discounted rate, from www.kco.org.uk
Overture: The Fair Melusina Felix Mendelssohn (1809-1847)

By the age of 18, Mendelssohn had already developed a personal and distinctive
musical style. He had created acknowledged masterpieces of chamber and orchestral
music as well as writing several operas, the last of which had been publicly staged.
These works reveal not only consummate technical skill, but also an extraordinary
ability to go beyond the conventional practices of the day. Among his fnest
achievements was a group of four programmatic concert overtures that look forward
to the symphonic poems of the later nineteenth century.

Märchen von der schöne Melusine (‘Fairy-tale of the fair Melusina’) had its origin in
the tale of Melusina, daughter of a mortal father and water-sprite mother, who is
cursed to assume mermaid form every seventh day; when she marries it is on
condition she must have absolute privacy on that day, but the condition is inevitably
broken, and she is thereafter doomed to remain a mermaid forever. On 7 April 1834
Mendelssohn informed his sister Fanny:

I composed this overture for an opera of Conradin Kreutzer’s [Melusine (1831)],

which I saw this time last year at the Königstädter Theatre. The overture (I mean
Kreutzer’s) was encored, and I disliked it thoroughly, and the whole opera just as
much; but not Fräulein Hähnel, who was very fascinating, especially in one scene,
where she appeared as a mermaid combing her hair; this inspired me with the wish
to write an overture which the people might not encore, but which would have more
inner substance; so I selected the aspect of the subject that pleased me (exactly
corresponding with the legend), and, in short, the overture came into the world, and
this is its family history.

Orchestras initially had difculty achieving Mendelssohn’s delicate pianissimo efects,

as is shown in his correspondence with Ignaz Moscheles, who conducted the coolly
received London premiere. But the overture soon gained admirers, and by the time
Mendelssohn took up the conductorship of the Leipzig Gewandhaus Orchestra two
years later, it had become a favourite concert piece. The Leipzig Allgemeine
musikalische Zeitung noted in May 1836 that ‘by request it has been frequently
performed and every time enjoyed very lively audience appreciation.’ Mendelssohn
disliked the reviewers’ suggesting a specifc programme for the music, however, and
complained to Fanny: ‘as to the fabulous nonsense of the musical papers, about red
coral and green sea monsters, and magic palaces, and deep seas, this is stupid stuf,
and flls me with amazement.’ By this time Mendelssohn’s overtures were widely
regarded as representing a peak of contemporary instrumental music, so that in a
German encyclopedia of 1836 they were described as ‘perhaps the most beautiful
overtures that, so far, the Germans possess’.

Programme note by Clive Brown

Piano Concerto No. 1 Johannes Brahms (1833-1897)
Soloist: John Reid

1. Maestoso
2. Adagio
3. Rondo: Allegro non troppo

An extraordinary melding of musical heritage and progressive outlook made Brahms

an overwhelming presence in the latter half of the 19th century, and beyond. The
composer's monumental First Piano Concerto, longer even than Beethoven's "Emperor"
Concerto, occupied Brahms for at least fve years. After beginning a two-piano sonata
in 1854, he soon realized that the musical material required orchestral treatment, and
recast the opening as the frst movement of a piano concerto; the other movements of
the sonata were discarded (although one of them reappeared later in the composer's
German Requiem). A jaunty new fnale was completed in late 1856, followed by the
radiant slow movement, but the composer continued to make adjustments up to and
even beyond the frst performances of the Concerto in January 1859.

Considering the intensity of the work, it may not be so surprising that a critic wrote of
the second performance, in Leipzig, that the Concerto "cannot give pleasure,"
lamenting that it contained "the shrillest dissonances and most unpleasant sounds."
Especially when compared with the bucolic rapture of the First and Second Serenades,
Op. 11 and Op. 16, which Brahms composed in 1857 and 1858, the Concerto is an
uncompromising and awesome piece of work, and it remains so even 150 years later.

Programme note by Dennis Bade

Symphony No. 1 Franz Schubert (1797-1828)

1. Adagio – Allegro vivace

2. Andante
3. Menuetto. Allegro
4. Allegro molto

Franz Schubert was 16 years old when he put the fnal touches on his frst complete
symphony. An impressively polished product, it doubtlessly beneftted from the
young composer's two earlier, abortive eforts in the genre and the handful of
symphonic overtures he wrote in 1811 and 1812. Like the rest of Schubert's pre-1820
symphonies, the Symphony No. 1 was not published until the late nineteenth century.
Schubert did, however, have the luxury of hearing it played during his lifetime; the
obliging orchestra was possibly that of the seminary school from which the composer
had recently disenrolled, or one of the ad-hoc ensembles put together in the house of
Viennese music enthusiast Otto Hatwig.
 The Symphony No. 1 is by far the fnest piece of Schubert's to date. Though it dates
from the post-Beethoven era, the Symphony No. 1 proudly displays Schubert's
eighteenth century roots, established through his studies with Antonio Salieri. The
grandiose Adagio introduction to the frst movement and the Mozartian zip of that
following Allegro vivace are unmistakably Classical in nature.

Parts of the frst movement's second subject were later deleted by the composer,
presumably in the interest of structural balance, but are sometimes restored in
performance. Somewhat unusually, the music of the Adagio introduction returns later
in the movement to usher in the recapitulation. The Andante that follows is a light-
footed movement, the graceful opening melody of which is countered by a marchlike
second subject. The minuet (Allegro) returns to the boisterous D major of the frst
movement; its trio is an episode of great instrumental color, especially admirable for
its woodwind scoring. The fnale (Allegro vivace) bursts forth on a lively, much-
ornamented idea in the violins; the vigorous coda that ends the Symphony is of a
forcefulness and stif harmonic fber well outside the limits that Schubert's eighteenth
century idols prescribed for themselves.

Programme note by Blair Johnston

John Reid

John Reid‘s career to date has shown him to be a pianist of

notable versatility and range, with wide experience as an
outstanding chamber musician, song accompanist, soloist and
exponent of new music.
He is a principal of the Aurora Orchestra, with whom he has
appeared at the major London concert venues (and at the BBC
Proms), in Shanghai, Brazil and at the Melbourne Festival. He
features regularly as a soloist with the group: currently as part of
a complete Mozart concerto series at Kings Place in London, and
in regular collaboration with Poet in the City.
Much in demand as a guest pianist with a number of other
leading ensembles, he has performed recently with Birmingham
Contemporary Music Group (Aldeburgh Festival 2017), London
Conchord Ensemble, Archangelo, London Haydn Project (Mozart
concertos K.271, K.595 and K.453) and The Sixteen (a Schumann
and Brahms series in London, Manchester and Bruges). He was invited to programme a
concert series for the Britten centenary at Kings Place, which incorporated new works by
Simon Holt, Jonathan Dove and Martin Suckling; and he has performed regularly in recent
seasons at The Sage Gateshead, both as a guest of the Royal Northern Sinfonia chamber
music programme and as a Samling Artist.
Notable projects during 2017 include recitals in Germany and the UK with violist Timothy
Ridout; a collaboration with soprano Gillian Keith and famenco dance group Dot Dot Dot
at the Buxton Festival in a new work by Tom Randle; and his concerto debut in Germany
(Brahms No.1 with Deutsche Philharmonie Merck in Darmstadt).
He has recorded numerous times for Radio 3. On disc, recent releases include trios with
the Emanuel Ensemble (Champs Hill Records) and premiere recordings of music by Emily
Hall (Befalling, with Oliver Coates and Mara Carlyle), York Bowen (works for two pianos,
with Michael Dussek for Dutton Epoch), Cliford Benson and Rhian Samuel.
John Reid studied at Clare College, Cambridge and at the Royal Academy of Music with
Michael Dussek. His teachers have also included Christine Croshaw, Malcolm Martineau
and Rudolf Jansen. He was a recipient of the 2004 Gerald Moore Award and the 2003
Kathleen Ferrier and Maggie Teyte Pianist Prizes, and he is now an Associate of the RAM.
Increasingly in demand as a coach of chamber music, he teaches in London at both the
RAM and at Goldsmiths College.

Karin Hendrickson
One of the few young conductors worldwide nominated for the
2016 Salzburg Festival/Nestle Young Conductors Award, Karin
Hendrickson was just recently accepted as 1 of 6 out of 161
applications worldwide for the Hart Institute of Women Conductors
at the Dallas Opera, USA.
Other symphonic debuts include the Pittsburgh Symphony
Orchestra (USA), Nashville Symphony Orchestra (USA),
Kammersymphonie Graz (Austria), Sao Paulo Symphony (Brazil),
and Ensemble Eroica (London). Opera work includes Music
Director for the premiere and tour of Opera for the Unknown
Woman (Melanie Wilson/National Theatre), Music Director for the
Garsington Youth Opera's performances at Garsington and The
Royal Opera House Out Loud Festival, Music Director for
Bloomsbury Opera, and she joins the staf in 2017 at The Royal
Opera House, Covent Garden as Chorus Master for Monteverdi's Il
ritorno d'Ulisse in patria. She will also begin works with the Royal Northern
Sinfonia/Young Sinfonia in March 2018.
Last season Karin was a cover conductor for the Royal Ballet, Covent Garden,
conducted the Southbank Sinfonia, was on the Artistic Staf with the Britten-Pears
Orchestra for their UK Tour, was Assistant Conductor to the 2016 BBC Proms Verdi
Requiem under Marin Alsop, and was a guest speaker at UK's City of Culture Women of
the World Festival (Hull). She was also conductor for the City of Birmingham Orchestra's
Orchestra Leadership project in 2017.
Karin has conducted various festival performances with youth ensembles around
the United States, UK, and in Brazil, and has prepared young groups (highlights include
Britten's War Requiem (Benjamin Britten/Royal Festival Hall/Marin Alsop conducting), and
an educational project between the London Symphony Orchestra and the Los Angeles
Philharmonic at the Barbican Centre (Appalachian Spring/Aaron Copland/Gustavo
Dudamel conducting). She was also part of the team at the Southbank Centre that was
honored with the Royal Philharmonic Society Award for the best Learning and
Participation program in the United Kingdom for 2014-2015. This award celebrates the
highest standards of achievement in all aspects of musicianship. In 2016 Karin was
invited to lead rehearsal of Voices Beyond Divisions, an educational trust bringing
together young people of Muslim, Jewish, and Christian faiths to perform together in
London. Karin continues in her personal commitment to music education for young
people and recently founded the Kid Maestro!© programme, writing and presenting
creative cross-curricular and topical educational concerts and musical interactions for
school-aged children.
 OCTOBER 2017
CONCERT

Guest Conductor Artistic Director

Karin Hendrickson Tom Seligman

Violin I Cello Clarinet

Corinna Ferguson (leader) Chris Peugniez * Drew Leckie
Arabella Lang Pritheeva Rasaratnam Charley Hutchings
Eve Weatherill Robert Jacobs
Juliette Blum Ben Deakin
Meg Veale Nick Ullmann Bassoon
Matthew Crisp Stephen Baxter Sarah Finlay
George Mattar Timothy Kraemer Gráinne Devery
Sophie Park
Quentin Wright
Double Bass Horn
Philip Austin * Charles Clark-Maxwell
Violin II Flossi Challands Gina Fullerlove
Joseph Farmer * Peter Taunton Jeremy Garside
Carenza Parker Pete Smith
Lois Oliver * Principal
Robert Summers
Wendy Talbot Trumpet
Helen Downing Flute Steve Willcox
Stephen Brown Kerenza Allin-Garner Steve Tomalin
John Waller Sarah Morpurgo

Viola Timpani
Danyal Dhondy * Oboe David Coronel
Lewis Murray Suzanne Wheatley
Ben Norrington Rosie Howgill
Kevin Mead
Robin Wedderburn
John Sanderson

We often have room for string players. Rehearsals are on Tuesday evenings in Holland
Park, with additional rehearsals close to the concert. We do not audition, but will accept
players on a recommendation or on a trial basis. If you would like further information,
please contact: kensingtonchamber@gmail.com
 FUTURE
CONCERTS

Saturday 25 November 2017

3.30 p.m. at St. Mark's Church, Hamilton Terrace
Family concert, to include:
Howard Blake – The Snowman
Kathy Clugston - Narrator

Saturday 10 March 2018

7.30 p.m. at St. Peter’s Notting Hill
Danyal Dhondy – Refractions in Time
Tchaikovsky – Violin Concerto
C.P.E. Bach – Sinfonia in D
Kodály - Symphony No.94 'Surprise'
Michael Foyle - Violin

Saturday 12 May 2018

7.30 p.m. at St. Peter’s Notting Hill
Rossini – Overture: L'italiana in Algeri
Falla – El Amor brujo
Rossini – 'Una voce poco fa' from Il barbiere di Siviglia
Haydn – Symphony No. 101, 'The Clock'

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Tickets for all our concerts can now be purchased online from our website.

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nights, approaching potential sponsors, printing and distributing publicity material,
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contact kensingtonchamber@gmail.com. Free concert tickets are available for
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KCO is a member of Making Music,

The National Federation of Music Societies